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Catalinbread designs and hand-builds, high quality, industry defining, guitar effects pedals in the U.S.A.
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Catalinbread Effects (catalinbread-effects.myshopify.com) is a United States-based online store specializing in /Arts & Entertainment/Music & Audio/Music Equipment & Technology. The store is generating approximately $337K in monthly revenue, attracting 38K monthly visitors, with a catalog of 42 products. This brand ranks as a growing store with steady visitor engagement in its category. Their technology stack includes AOD ‑ Order Limits (Min‑Max), PreCom ‑ coming soon preorders, and Common Ninja FAQ for enhanced store functionality. Geographic distribution shows 42% of traffic from United States, followed by 8% from Brazil.
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Top 6 products from this store. 42 total in catalog.

If you want to get your hands on one, we’re offering them in kit form, if you fancy building one yourself. Assembly is very straightforward and requires only a soldering iron, some solder, and proper ventilation; we’ll take care of the rest. What began as an instructional device for a local pedal building class taught by a local amp tech became a pedal we have to share with you! We were approached with a couple simple requests: First and foremost, a ripping fuzz pedal that covers all the bases from full and throaty to sputtery and gnarly. Check. Secondly, it had to be able to be placed almost anywhere in the chain, compared to say, a Fuzz Face, which is notoriously picky about where it goes. Thirdly, it had to be simple to build, easy enough for even the most novice solder jockeys. We believe we have succeeded with the Knight School Fuzz, which is based on one of the most underrated fuzz circuits in existence: the Jordan Boss Tone. This device originally plugged straight into your guitar during an era where pedalboards weren’t really “a thing” yet, so integrating one into a modern setup isn’t a simple procedure as most other vintage units. Unlike many circuits of the era, the Boss Tone isn’t based on anything else; most other venerable legacy fuzzes were copying each other in some form or another, but Jordan Electronics, whose engineers also built things like Geiger counters, was up for the challenge of an original circuit, and they crushed it with the Boss Tone, even though the housing wasn’t super user-friendly. Despite its integration difficulties, you can hear the Boss Tone on several classic records by ZZ Top, the Black Keys, Spirit, New Riders of the Purple Sage, and countless others. Our Knight School Fuzz riffs on this formula, with some value swaps, different transistors for a more modern sound, and a Bias control that utterly dissolves the sound into gnarled madness as you crank it.

The Soft Focus patch on the Yamaha FX500 was widely used in the ‘90s by early shoegaze bands, most notably Slowdive on Souvlaki. With its roots in that patch, the Catalinbread Soft Focus is intended to be an instant shoegaze button, while addressing the most glaring issues of the original unit: no mix control, a sub-par preamp, and a ghastly tone-sucking bypass signal. At its heart, the Soft Focus is a heavily modified plate reverb with adjustable time, which is subsequently split into three paths. One path contains a multi-voiced chorus modulator, another features a well-appointed octave-up mixed in with the reverb, and the third path leaves the reverb untouched. The Mod knob controls the rate of the chorus on path one, and the Symphony knob controls the level of the octave on path two. All controls are "coupled" to the tone of the reverb to give users an expansive playing field of sounds to discover and fine tune. Our Soft Focus is not an exact recreation but was exhaustively compared with our own FX500; the difference is that a fairly generic fixed-time digital delay is present on the Soft Focus patch. We found that leaving this feature intact ate into the circuit’s memory just a little too much for such little payoff, so we leave that addition to you and your favorite delay.

Our next Proto Club release is the first based on ~vibes~. A couple years ago, we were listening to Tame Impala’s “One More Year” and we were struck by a particular effect used on the vocals, a pads -sounding effect if you will. Taking inspiration from that led us down a whole rabbit hole of different textures, granular rearrangement of those textures, and how the processing order affects harmonic content. The result is something that came to be known around here as “Pads”, and we’re excited to be able to get this one out into the open. If we were forced to ascribe a singular effect type to Pads, it would be “smeared reverb,” but there’s much more going on than just that. A long-decay reverb effect enters a four-voice chorus, with each voice tuned to soften a different harmonic element of a guitar. Once the signal leaves the chorus, it enters a square-wave tremolo that’s also been tuned with a smearing effect. There’s a knob that controls the duty cycle (also known as “on time”) for rhythmic blips that sit right in the mix without being jarring. At its highest setting, this adjustable duty gives an intense stutter effect that carries your tone through the void.

The second entry into Proto Club is a doozy, a prototype that’s been years in the making that a handful of us have been using for almost as long. While the Soft Focus came together just a short time ago, the Filter Verb was built around an effort to extract shoegaze tones from the more performance-oriented platform of one of our older discontinued devices. The result is a reverb-chorus-resonant filter chimera complete with expression control and momentary functions. A fat resonant low-pass filter makes precise cuts to the base of a lush modulated chorus-verb. You can use the knob to set the frequency of that low-pass filter, or plug in your expression pedal and control the cutoff that way. A momentary switch activates the room reverb at will, letting you insert precise, enormous reverb blasts at will, and you can set the heat of the onboard preamp before it smashes into all of that. The Filter Verbs unfortunately collided with the Soft Focus during the development of that pedal, again collided with the Soft Focus Deluxe and has lain dormant since. We now offer its humble, mind-bending sounds as tribute to the Proto Club.

If you want to get your hands on a Knight School Overdrive, we’re offering them in kit form if you fancy building one yourself. Assembly is very straightforward and requires only a soldering iron, some solder, and proper ventilation; we’ll take care of the rest. All the way back in 1975, Craig Anderton, founder of Seamoon Effects, released what came to be known as the go-to reference book for aspiring pedal builders. That book is called Electronic Projects for Musicians and it unknowingly jumpstarted the designs of many budding companies. Several of the circuits in this book use integrated circuits, or “chips” as most people call them, that weren’t commonly found in commercial products of that time. One such timeless circuit born from this book was the Tube Sound Fuzz, a gain device centered around an exotic part called a hex inverter. The architecture of this hex inverter allows for some crisp and striking distortion using just a few parts, with some wild variation lurking within just by adjusting a few values. And companies did just that; with one of the earliest adopters of Anderton’s circuit being Electro-Harmonix. In the late ‘70s, EHX released the Hot Tubes, a modified version of this circuit, tweaked in such a way to deliver a smooth yet biting overdrive. Being a relatively unique circuit and previously unavailable commercially, the Hot Tubes had several notable users such as Stevie Ray Vaughan, Kim Gordon, Jeff Buckley and the Edge. Another person that ran with the TSF is Jeorge Tripps of Way Huge, who tweaked the values of that circuit in a different direction and produced the brand’s flagship circuit, the Red Llama. That pedal has been in production on and off for 30 years, and found its way into the hands of several influential players, such as Tom Petty, Paul Gilbert and John Mayer. Our Knight School Overdrive has the DNA of Mr. Anderton’s Tube Sound Fuzz, the Hot Tubes and the Red Llama, reworked into a dirt device that covers all the gain bases, from sparkling clean boost to heavy grit with extreme touch sensitivity. We’ve included a knob for a mids scoop, which was actually featured first in old Gibson amplifiers, but we’ve implemented the version from the Matchless Chieftain amplifier, one of our shop amps and a favorite of ours. You’ll find it adds quite a lot to the character of the unit, and is especially helpful if you play British-style amps.

You’ve heard the rumors: Some of rock ‘n’ roll’s greatest tones were achieved without pedals. Not so fast! While that’s technically true, some of the most venerable guitar gods relied on an old tape echo unit to help achieve their legendary tones. This unit is the Maestro Echoplex EP-3. While some guitarists made great use of its echo effect, others dragged one to every gig just for its magical preamp. This preamp circuit was wired always-on, and so even those using it as an echo effect received significant tonal enhancements from the preamp circuit as well. Everyone from Eddie Van Halen to East Bay Ray of the Dead Kennedys relied on the EP-3 preamp to take their sound to previously unreachable heights. And now you can also, with our Epoch Boost. Around the shop, we refer to the Epoch Boost as a “mastering pedal,” because it sounds like your base tone, but sculpted to perfection by a mastering engineer. This is accomplished by employing the same internal circuitry as a real EP-3, from the NOS Orange Drop capacitors to the output mixer stage that acts as a rudimentary frequency selector---it’s all there. We’ve taken the liberty of kicking the internal voltage all the way up to 22 volts, just like the original unit, giving you unparalleled headroom and clarity. Inside, we’ve included a switchable hi-Z input buffer if you’d like to use the Epoch Boost as your only pedal (don’t worry, we won’t judge). The Boost control gives you just the EP-3 tone when rolled off, but adds up to 20dB of crystal-clear boost as you crank it. And trust us, you’re gonna want to.
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In 1970, Led Zeppelin hit the stage of London's historic concert hall, Royal Albert Hall. We love the RAH performance and were inspired to capture it in a pedal.

The Catalinbread SFT will give you those Rolling Stones-esque, edge of breakup sounds you've been chasing for years. One push of the Stones/Stoner button and you're in fuzzy Stoner rock territory.

What is your favorite Catalinbread Reverb? Good news: All Catalinbread Reverbs are 15% off during March only.

An upgrade in every conceivable way over our original Belle Epoch, the Belle Epoch + gives you that classic Echoplex emulation with tap tempo capability, soft-touch switching, three different tape age programs, better bypass options, a more robust preamp and buffer, higher dynamic range and more delay time.

An upgrade in every conceivable way over our original Belle Epoch, the Belle Epoch + gives you that classic Echoplex emulation with tap tempo capability, soft-touch switching, three different tape age programs, better bypass options, a more robust preamp and buffer, higher dynamic range and more delay time.
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